Mills & Boon Books and How to Find Them
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Document generated on 09/27/2021 8:54 p.m. Mémoires du livre Studies in Book Culture #loveyourshelfie Mills & Boon books and how to find them Lisa Fletcher, Jodi McAlister, Kurt Temple and Kathleen Williams La circulation de l’imprimé entre France et États-Unis à l’ère des Article abstract révolutions “Mills & Boon” has become shorthand for “trashy” entertainment, yet little is Franco-American Networks of Print in the Age of Revolutions known about how the books are treated materially in their circulation. This Volume 11, Number 1, Fall 2019 article reports on a project that followed the material lives and afterlives of 50 Australian-authored novels published by Harlequin Mills & Boon between 1996 URI: https://id.erudit.org/iderudit/1066945ar and 2016. We analyze visual and textual data about these books collected via DOI: https://doi.org/10.7202/1066945ar social media to explore uses and values attached to category romance. First, we show that the books’ ongoing circulation is due both to their publishers’ practices, and to the behaviours of genre insiders. Second, we note that most See table of contents participants demonstrated “genre competence” and genre-based sociality, confirming the highly networked nature of the romance “genre world.” Third, we find that category romance is routinely shelved apart from other books, Publisher(s) explicitly marking them as distinctive. Finally, we argue that “shelfies” of romance collections undercut notions of trash by reframing them as treasure. Groupe de recherches et d’études sur le livre au Québec ISSN 1920-602X (digital) Explore this journal Cite this article Fletcher, L., McAlister, J., Temple, K. & Williams, K. (2019). #loveyourshelfie: Mills & Boon books and how to find them. Mémoires du livre / Studies in Book Culture, 11(1). https://doi.org/10.7202/1066945ar Tous droits réservés © Groupe de recherches et d’études sur le livre au Québec, This document is protected by copyright law. Use of the services of Érudit 2020 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ #LOVEYOURSHELFIE: Mills & Boon books and how to find them Lisa Fletcher Jodi McAlister University of Tasmania Deakin University Kurt Temple Kathleen Williams University of Tasmania University of Tasmania “Mills & Boon” has become shorthand for “trashy” entertainment, yet little is known about how the books are treated materially in their circulation. This article reports on a project that followed the material lives and afterlives of 50 Australian-authored novels published by Harlequin Mills & Boon between 1996 and ABSTRACT 2016. We analyze visual and textual data about these books collected via social media to explore uses and values attached to category romance. First, we show that the books’ ongoing circulation is due both to their publishers’ practices, and to the behaviours of genre insiders. Second, we note that most participants demonstrated “genre competence” and genre-based sociality, confirming the highly networked nature of the romance “genre world.” Third, we find that category romance is routinely shelved apart from other books, explicitly marking them as distinctive. Finally, we argue that “shelfies” of romance collections undercut notions of trash by reframing them as treasure. La maison « Mills & Boon » est synonyme de plaisir coupable, mais on en sait fort peu sur ce qui caractérise le traitement de ses livres sur le plan matériel. Le présent article décrit un projet qui a retracé « la vie » (dans leur incarnation matérielle et au-delà) de cinquante romans d’autrices australiennes publiés par Harlequin RÉSUMÉ Mills & Boon de 1996 à 2016. L’analyse de données visuelles et textuelles recueillies sur les réseaux sociaux nous permet d’explorer les usages et les valeurs associés au genre du roman d’amour. Nous montrons que la circulation des livres est attribuable à la fois aux pratiques de l’éditeur et au comportement des adeptes du genre. L’univers du roman d’amour s’appuie sur des réseaux raffinés, la plupart des intervenants se caractérisant par leur « compétence de genre » et par la socialité qui 1 Vol. 11, n° 1 | Fall 2019 « Franco-American Networks of Print in the Age of Revolutions » y est associée. Par ailleurs, nous notons que les romans d’amour se retrouvent rarement sur les mêmes rayons que les autres romans, ce qui en soi les rend distincts. Enfin, nous soutenons que les photos de collections de romans d’amour diffusées sur les réseaux sociaux incitent à recadrer la perception : les plaisirs coupables prennent dorénavant valeur de trésors. Keywords Popular romance fiction, shelfies, Harlequin, Mills & Boon, social media Mots-clés Romans d’amour, “shelfies”, Harlequin, Mills & Boon, réseaux sociaux In Episode Two of The Bachelorette Australia in 2016, host Osher Günsberg outlined the first group date—a photo shoot for four new Mills & Boon books by Australian authors—saying, “Harlequin Books publishes the biggest name in romance novels worldwide, Mills & Boon.” Günsberg’s introduction highlights the virtually synonymous relationship between Mills & Boon and popular romance across the UK and the Commonwealth.1 As Bachelorette Georgia Love said, “Mills & Boon means romance.” The partnership of Mills & Boon and The Bachelorette (the longest-lived romance reality television franchise in the world), the construction of this group date, and the subsequent production and marketing of the Bachelorette novels traded on the recognizability of the Mills & Boon brand in Australia.2 Additionally, this episode underlined questions for us about the commercial and material distinctiveness of category romance.3 For example, Günsberg described the Bachelorette books as “a new series of romance novels Mills & Boon are doing set in the Australian outback.” The books are, however, not “new releases” in the usual sense, but collections of previously published novels, retitled and rebranded. Mills & Boon books are conventionally viewed as slim mass-market volumes produced at breakneck speed: they sit on retail shelves for the month of their release; unsold copies are destroyed; and purchased copies, once read, are disposable. The evolution of digital publishing in the twenty-first century complicates ideas of disposability, as backlist titles stay “in print” as ebooks. However, the paperback covers and the associated promise to viewers of physical volumes were at the centre of this cross-media collaboration, sparking questions about the status of print Mills & Boon in contemporary popular culture. 2 Vol. 11, n° 1 | Fall 2019 « Franco-American Networks of Print in the Age of Revolutions » Mills & Boon is shorthand for “trashy” entertainment—to be consumed and disposed of, not to be retained. However, the repackaging and recirculation of backlist titles as “new” Bachelorette tie-in editions highlighted and reinforced to us that the production and distribution of Mills & Boon is more commercially and socially nuanced than the shorthand suggests. We therefore set out to investigate where and how print Mills & Boon books circulate in contemporary culture. Our initial interest was in the recycling and repackaging of previously published stories, a major but understudied feature of Harlequin’s business model. This soon evolved into a bigger question about the location and circulation of print category romance: as new books telling new stories, new books telling old stories, used books; items bought, sold, borrowed, discarded, or kept. This article reports on the “Summer of Romance,” a project that followed the material lives and afterlives of Australian-authored category romance novels published in Harlequin and/or Mills & Boon lines between 1996 and 2016. With a view to asking new questions about category romance, it takes a different approach to those that have dominated research on popular romance fiction since Radway’s 1984 book Reading the Romance. Studies of the genre frequently focus on the twinned objects of the romance novel and its (mostly female) reader. This article examines the circulation of books as material objects rather than focusing on the analysis of texts and/or readers. METHODS AND BACKGROUND Using the National Library of Australia’s (NLA) catalogue, we selected 50 category romance novels by Australian authors first published by Harlequin and/or Mills & Boon between 1996 and 2016 (10 each from 1996, 2001, 2006, 2011, and 2016). We collected visual and textual data about the existence and locations of physical copies of these books over three months (December 2016-February 2017) across three social media platforms (Facebook, Instagram, Twitter). We obtained approval from the Tasmania Social Sciences Human Research Ethics Committee to solicit data from social media users to investigate “how and where print editions of [Harlequin Mills & Boon] novels by Australian authors circulate after their publication” (Participant Information Sheet). We set up research team accounts on Facebook, Instagram, and Twitter,4 and used these and our personal social 3 Vol. 11, n° 1 | Fall 2019 « Franco-American Networks of Print in the Age of Revolutions » media accounts to recruit participants to share “shelfies” of the 50 books on our Facebook page and/or